: Seven Minor Epics of the English Renaissance (1596-1624) by Barksted William Active Gale Dunstan Linche Richard Page Samuel Miller Paul William Commentator - English poetry Early modern 1500-1700; Epic poetry English; Renaissance England

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INTRODUCTION

The purpose of the present volume is to supplement and complement Professor Donno's collection by making available in facsimile seven minor epics of the English Renaissance omitted from it. With the publication of these poems all the known, surviving minor epics of the Elizabethan and Jacobean periods will for the first time be made available for study in faithful reproductions of the earliest extant editions.

SOURCES

Similarly Barksted departs at length from Ovid in the beginning of his tale, where the Renaissance poet undertakes to explain why Mirrha is cursed with love for her father. While she listens to the sweet, sad songs of Orpheus, Cupid, falling in love with her, courts her and is rejected; his parting kiss "did inspire/her brest with an infernall and unnam'd desire" . Golding's Ovid, specifically denying that Cupid had anything to do with Mirrha's unnatural love, suggests that Cinyras' daughter must have been blasted by one of the Furies. Other inventions of Barksted include a picture of her father with which Mirrha converses , pictures of her suitors , a picture of her mother, over which she throws a veil and a description of Mirrha herself . Later in the story Mirrha meets a satyr named Poplar , who makes free with her . As punishment for such goings on in Diana's sacred grove, he is to be metamorphosed into the tree that now bears his name .

FORMAL CHARACTERISTICS

It would probably be impossible, even if it were desirable, for any given minor epic to follow all the conventions of the genre, or even all its alternative conventions. Yet all the poems included here adhere so closely to most of the important minor epic conventions that there should be no question as to the minor epic identity of any.

THE HISTORY OF THE EARLY EDITIONS

Some say When women once have felt that they cal sport, And in their wombe a Tympanie doth rise For things peculiar they do oft import: And though most odious it do seeme to some, Yet give it them or they are quite undone.

And so my case most desperate standes you see, I long for this yet know no reason why, Unlesse a womans will a reason bee, We'le have our will although unlawfully, It is most sweete and wholsome unto mee, Though it seeme bad and odious unto thee.

The third impression of 1620 follows the edition of 1613 but prints three stanzas to a page instead of four.

LITERARY VALUE

There are no Seas to separate our joy, No future danger can our Love annoy.

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